One consequence of creating a beloved show is that you’ve got to deal with superficial paeans to it. David Simon has to know this, but he still seems cranky in this interview. Of course I’m not saying he can’t be chagrined by Grantland or Vulture’s recent TV brackets (which Simon singled out in subsequent remarks), but when he says he’s “it’s wearying” for people “to be picking [The Wire] apart now like it’s a deck of cards or like they were there the whole time or they understood it the whole time,” it’s a bit harder to take his side, and you feel like he hasn’t watched Erlend Lavik’s sophisticated and thorough video essay about The Wire‘s visual style. Surely analyses like this (or Žižek‘s, which we’ve mentioned before) deserve due credit.
Electric Literature has published a look at two new Sherlock Holmes fan fictions, “the game,” and various copyright complications, which just happens to dovetail with our own Elizabeth Minkel‘s Year in Reading account of admitting to loving Sherlock fan fic. In fact, loving the great detective has a lot to do with writing well: as Ryan Britt puts it, successful fan fiction authors “all love Holmes and his adventures way more than the man who created the great detective thought possible. Which, today, remains the biggest cultural mystery we’ll hopefully never get tired of investigating.”
“Nigeria did fracture once, however, and it is this story that Chinua Achebe, a giant of African letters, tells. His memoir of the moment describes when the country, yoked together artificially by British colonizers, split apart at a cost of more than a million lives.” The New York Times Book Review on the writer’s There Was A Country.
Our friend “Tom” finds that music soothes the savage vampire.Joseph O’Neill explores the “wholesome… misanthropy” of Flannery O’Connor.The Nation offers up a depressing assessment of the book business: “It is a confused, confusing and very fluid situation, and no one can predict how books and readers will survive.””Why Donald Duck Is the Jerry Lewis of Germany“NPR talks to the author of the just published biography, Gabriel Garcia Marquez: A Life.Daniel Green launches new online journal Critical Distance.”Will Philadelphia be the place where the American newspaper dies?” (via)The Complete Review considers Bolaño’s Amulet.
Chris Adrian’s The New World, a digital-platform book we wrote about before, is now on shelves. I mean that idiomatically and not literally — as none of the editions favored by The Atavist’s young publishing arm for this lyrical love story of life after death (interactive ebook app, text-only Kindle/iBook/Google) involve paper.
Though no big name today, early 20th-century poet Florence Ripley Mastin published prolifically in her lifetime – a dozen times in Poetry, more than 90 in the New York Times. Poetry’s Ruth Graham argues that the successes of Mastin, an untrained amateur, say more about her times than her talent. These days, amateur poets today benefit from refrigerator poetry sets, numerous poetry apps and sites, and the infinite community of the internet, but the Times has long excised poetry from its pages. In the archives, Patrick Wensink meets and analyzes those who doggedly pursue poetry these faded days.
“Bestselling self-published authors attract producers because they have a proven track record if they stay on Amazon sales charts over time.” The Guardian considers the Hollywood success of writers such as Andy Weir, E. L. James, and Mark Dawson. And just last year our own Bill Morris wondered why literature was enjoying such a good run out in LaLa Land: “Four novels as source material for Oscar-nominated screenplays? What happened? Did some pixie slip a vial of smart powder into the L.A. drinking water?”